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| 文章编号：1672-3104(2017)04-0160-05 |
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走出女性主义电影批评：阿涅斯·瓦尔达电影《幸福》的价值迷失 |
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赵璞 |
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（浙江大学传媒与国际文化学院，浙江杭州，310028） |
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| 摘 要： 作为女性主义电影的经典代表，阿涅斯·瓦尔达的作品基本上都被纳入到女性主义电影批评的话语体系中加以讨论。在这种语境下，她早年的作品《幸福》经历了一个从批判到认同的阐释过程。女性主义电影批评对《幸福》的认识反复，折射了其批评内部的视点和方法的变迁。但是这种变迁并没有使其阐释更加有效。原因在于这种批评主要就是在预设的女性主义立场下通过形式主义的分析自证其立场本身，而不是对特定作品的思想背景、创作理念、实践得失进行具体的考察。从艺术技巧和审美效果的角度来说，《幸福》其实是一部不成熟的实验作品，局限于女性主义电影批评中会使其失去转化为成功经验的可能。 |
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| 关键词： 阿涅斯·瓦尔达；《幸福》；女性主义电影批评 |
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Film criticism beyond feminism: Loss of value of Agnès Varda's Le Bonheur |
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ZHAO Pu |
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（College of Media and International Culture, Zhejiang University, Hangzhou 310028, China） |
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| Abstract: As a classic representative of feminist movies, Agnès Varda’s works are generally included in the system of feminist film criticism. In this context, her early work Le Bonheur has experienced an interpreting process from being criticized to being approved of. The criticism of Le Bonheur is complicated, which reflects the changes of both the internal views and methods of the criticism. However, the interpretation does not gain effectiveness according to the changes. The reason is that such kind of criticism adopts formalist analysis to prove itself, based on a presupposed view of feminism, rather than investigating the specific ideological background, creative ideas, practical gains and loss of a particular work. Considered from the perspective of artistic techniques and aesthetic effects, Le Bonheur is actually an immature experimental work. The limitation of feminist film criticism will hinder possibility of transforming the work into successful experiences. |
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Key words: Agnès Varda; Le Bonheur; feminist film criticism |
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